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Re: (TV) lou number 2: sounds promising to me



    Actually to get myself back on track that Lou Reed was at one time the
best I pulled out an old Velvets "Live At The 2nd Fret" in Philadelphia
January 1970 cassette that I've had for nearly 25 years. It's amazing how
those old cassettes hold up. Anyway, There's a version of Sister Ray where
Lou does his Wilson Pickett/Otis Redding bit in the breakdown part. He was
fantastic in hitting the high notes and the screams. Rarely did he sing like
this except on the bands best performances and this is one of them. That boy
could sing his ass off. Now he can barely talk his way through a song. I
think I'll refer to the new Lou as Snorelax. I'm as bored as he sounds with
his new record. Not even the guitar sounds are good which he always prided
himself on getting the best. Not here big boy.


    Speaking of V.U. Polygram are finally going to release the first 3
Velvets shows in their V.U. Live series. They'll all be from the Boston Tea
Party. Bob Quine as you all may or may not know once followed the V.U.
around for a solid month in '69 and recorded every single show. He has never
made a tape for anyone for any reason. He put the best versions down onto a
stereo reel to reel. He and I are going to Polygram with these to work out a
deal. They're very excited by these tapes. These are virgin recordings,
first generation that the bootleggers never had the privelege of getting
their mitts on. There are some incredible tracks. A '69 version of "Black
Angels Death Song, Venus In Furs, Ride Into The Sun, and if I might add,
they're just as good in fidelity if not better than the '69 Live tapes that
Polygram released in '74. The best though is that while going thru my own
cassettes I stumbled upon a 3rd generation tape of the infamous "Columbus
Ohio" show from '66. The tape I have kicks arse on any of the boots that
have been around. I was lucky enough to obtain mine from the now deceased
biker who actually recorded the show. This will come to the meeting with us.

    However, none of this might not even happen if the first 3 do not sell.
And they might no considering that Polygram is pretty much putting out 3
shows that already have been out on bootlegs before. I'll keep all those
interested up to date as things progress. M T C
> From: esgregory@uswest.net
> Reply-To: tv@obbard.com
> Date: Thu, 06 Apr 2000 11:19:24 -0700
> To: tv@obbard.com
> Subject: Re: (TV) lou number 2:  sounds promising to me
> 
> most of these lines quoted just sound BITTER.
> reed was always at his best trying to find a way OUT (sometimes by travelling
> to the heart) of bitterness/decadence/nihilism.
> 
> i prefer the songs on the record that deal with metaphysics & everyday life.
> 
> the anti-love songs are ludicrous....stax-quoting horn parts with lou trying
> to play otis. except otis was here to tell us about the glory of love, even
> when it was going wrong.
> 
> 
> 
> jpontrelli@nallmiller.com wrote:
> 
>> "But if we have to part, I'll have a new scar right over my heart / I'll call
>> it ecstasy," sings Lou Reed at the end of the title track of his powerful new
>> album. It's one of two references in the song to scars, the other in the
>> line, "A scar on my arm that says domain / I put it over the tattoo that
>> contained your name."  Ecstasy, Reed's first album of new material since
>> 1996's Set the Twilight Reeling, has a lot of scars: some of them visible and
>> some buried deep beneath the skin.  In the doo-wop-styled "Tatters," a song
>> that builds to an emotional crescendo accentuated by an archetypal rock
>> guitar solo, Reed sings, "I know you hope that everything works out, neither
>> one of us is the type who shouts * You sleep in the bedroom while I pace up
>> and down the hall." Much like Jackson Browne's gorgeous and sad "Late for the
>> Sky," "Tatters" is startling in its ability to capture slice-of-life moments
>> in relationships.                     Unlike Browne though, Reed chooses not
>> to !
> ov!
>> erly focus on the lyrics by crafting almost all ballads. From the opening
>> track, "Paranoia Key of E," Reed and his band, particularly guitarist Mike
>> Rathke, deliver the same edgy, hook-filled guitar lines Reed's songs have
>> been known for since "Sweet Jane" and "Rock & Roll." Reed also revisits his
>> feedback-heavy past with the 18-minute-plus "Like a Possum," a swirling
>> dervish of guitars, noise, and distortion. The music here is vintage Reed,
>> such as on the New York-era sounding "Future Farmers of America" and the
>> combination of a heavy beat and occasional horns on the memorable "Mad."
>> Ecstasy has everything that makes Lou Reed great. And it's not hard to
>> define. He
>> calls 'em as he sees 'em. Nobody wants to admit what Reed says in "Modern
>> Dance" -- "Explain to me * why it always comes to this / it's all downhill
>> after the first kiss" -- but everybody's wondered it at one point or another.
>> Steve Baltin
>> 
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